Jeremy Gardiner, Contraband by Candida Stevens Gallery

JeremyJeremy Gardiner Gardiner CONTRABAND Sussex Landscapes

Jeremy Gardiner CONTRABAND

All works are available for sale on receipt of this catalogue. Please contact the gallery for prices and availability. All works are framed, framed images can be found on our website, some are shown here as examples.

12 Northgate, Chichester West Sussex PO19 1BA +44 (0)1243 528401 +44 (0)7794 416569 info@candidastevens.com www.candidastevens.com

‘Every time I paint the coast,’ says Jeremy Gardiner, ‘it’s from a new viewpoint.’ The paintings brought together under the title of ‘Contraband’ explore the coasts of southern England in relation to their long-standing and notorious connection with smuggling. Tremendous glamour attaches to the myth of the smugglers of the Georgian era as sturdy independent locals, flouting authority with gallantry and gaiety. But the violent reality was of wholesale corruption, terrorism and murder. These were wild times, and Jeremy Gardiner’s coast, the southwest in particular, was a wild and remote region. Farming, fishing and stone quarrying were hard and dangerous livelihoods, badly paid and insecure. No wonder poor men turned to smuggling tax-free brandy, tobacco and tea. Local knowledge was essential, whether in choosing secure hides or the safest landing places. Sometimes these means of orientation were subtle, as at Chesil Bank on the Dorset coast, where the action of longshore drift has graded the shingle from pebbles the size of large peas around Burton Bradstock to cobbles as large as potatoes at Portland. A local smuggler could tell exactly where he was in this stony wilderness by picking up a handful of pebbles and gauging their size. The great shingle bank occupies the middle distance in St Catherine’s Chapel and Chesil Bank III, the landscape bathed in a baked orange glow, as hot as a Spanish plain. Beyond lies the Fleet lagoon with its string of isolated villages, the setting for J Meade Falkner’s celebrated smuggling romance ‘Moonfleet’. In Gardiner’s paintings the most dramatic or best-known features of the coast may be distanced St Michael’s Mount I, disguised Golden Cap from The Cobb III or tucked away round the corner Lulworth Cove and Stairhole IV. Church towers, lighthouses, clifftop buildings, harbours, coastguard lookouts and even castles are miniaturised, as in Bird's Eye View, St Ives I, or the three paintings of Lundy’s North and South lighthouses. These manmade structures, etched in very fine detail, are subservient to the overarching abstractions of cliffs and landforms, often appearing overwhelmed by massive skies and seas.

In Solar, Seven Sisters I Gardiner turns this treatment inside out. Here it’s a natural form that is played down – the famous Seven Sisters cliffs in East Sussex, shown low and compressed like a foamy wave or billow of cloud. The coastguards who were foisted upon the smuggling communities lived distanced and ostracised in highly visible clifftop cottages, seen bold and clear in the foreground of the painting. A technique of Gardiner’s that amplifies a general sense of dislocation in his work involves floating alum-coated paper on a layer of dampened carrageen moss overlaid with pigment. This produces cascades of organic shapes, pared back until only discernible in a fragment of sky over a distant Isle of Portland Chapman’s Pool from Emmetts Hill, or a surface of rock in a dominant cliff face Mullion Cove Quay I – an elusive hint, set against the artist’s trademark geometric shapes and blocks of colour, of a dream-like element to these southwest coast and seascapes. The fictional smuggler still grips our imaginations - the Scarecrow, parson-smuggler and dashing hero of Russell Thorndike’s ‘Dr Syn’ novels, or the sinister Vicar of Altarnun in Daphne du Maurier’s ‘Jamaica Inn’. But reality could be just as romantic. The lonely houses of Prussia Cove in the far west of Cornwall, half sunk in the cliffs Prussia Cove I, were the hiding places of smuggler John Carter, known as the ‘King of Prussia’, a strict Methodist never known to utter a curse. After a lifetime of lucrative crime and of battling the Revenue, around 1807 the King decided to abdicate his smuggling throne – whereupon he simply vanished, and was never seen again.

Christopher Somerville, February 2022 Walking Correspondent, the Times

Seaford Head and Seven Sisters IV, Sussex, 2020 Watercolour with jesmonite and acrylic on handmade cotton rag paper 30 x 42 cm 8

Birling Gap III, Sussex, 2020 Watercolour with jesmonite and acrylic on handmade cotton rag paper 30 x 42 cm 10

Hastings Castle and Pier III, Sussex, 2020 Watercolour with jesmonite and acrylic on handmade cotton rag paper 30 x 42 cm 12

Beachy Head I, Sussex, 2020 Watercolour with jesmonite and acrylic on handmade cotton rag paper 30 x 42 cm 14

Belle Tout I, Sussex, 2020 Watercolour with jesmonite and acrylic on handmade cotton rag paper 21 x 42 cm 16

Beachy Head Light IV, Sussex, 2020 Watercolour with jesmonite and acrylic on handmade cotton rag paper 21 x 42 cm 18

Solar Seven Sisters I, Sussex, 2020 Watercolour with jesmonite and acrylic on handmade cotton rag paper 21 x 42 cm 20

Lundy North Lighthouse From Above II, Devon, 2021 Watercolour with jesmonite and acrylic, on handmade cotton rag paper 30 x 42 cm 22

Prussia Cove I, Cornwall, 2021 Watercolour with jesmonite and acrylic, on handmade cotton rag paper 21 x 42 cm 24

Lundy South Lighthouse From Below IV, Devon, 2021 Watercolour with jesmonite and acrylic, on handmade cotton rag paper 30 x 42 cm 26

Lundy South Lighthouse From Above II, Devon, 2021 Watercolour with jesmonite and acrylic, on handmade cotton rag paper 30 x 42 cm 28

Lulworth Cove and Stairhole IV, Dorset, 2021 Watercolour with jesmonite and acrylic, on handmade cotton rag paper 30 x 42 cm 30

St Catherine’s Chapel and Chesil Bank III, Dorset, 2019 Watercolour with jesmonite and acrylic, on handmade cotton rag paper 21 x 42 cm 32

Dover Harbour I, Kent, 2021 Watercolour with jesmonite and acrylic, on handmade cotton rag paper 30 x 42 cm 34

Old Harry from Handfast Point III, Dorset, 2021 Watercolour with jesmonite and acrylic, on handmade cotton rag paper 30 x 42 cm 36

Freshwater Bay II, Hampshire, 2021 Watercolour with jesmonite and acrylic, on handmade cotton rag paper 30 x 42 cm 38

Pinnacle and Haystack I, Dorset, 2021 Watercolour with jesmonite and acrylic, on handmade cotton rag paper 30 x 42 cm 40

Arish Mell IV, Dorset, 2021 Watercolour with jesmonite and acrylic, on handmade cotton rag paper 30 x 42 cm 42

Dover Castle II, Kent, 2021 Watercolour with jesmonite and acrylic, on handmade cotton rag paper 21 x 42 cm 44

St Michael’s Mount I, Cornwall, 2021 Watercolour with jesmonite and acrylic, on handmade cotton rag paper 30 x 42 cm 46

Mousehole II, Cornwall, 2021 Watercolour with jesmonite and acrylic, on handmade cotton rag paper 30 x 42 cm 48

Port Isaac II, Cornwall, 2021 Watercolour with jesmonite and acrylic, on handmade cotton rag paper 30 x 42 cm 50

Mullion Cove I, Cornwall, 2021 Watercolour with jesmonite and acrylic, on handmade cotton rag paper 30 x 42 cm 52

Bird’s Eye View, St Ives I, Cornwall, 2021 Watercolour with jesmonite and acrylic, on handmade cotton rag paper 21 x 42 cm 54

Lulworth Cove From Above II, Dorset, 2021 Watercolour with jesmonite and acrylic, on handmade cotton rag paper 30 x 42 cm 56

Kingswear Castle IV, Devon, 2021 Watercolour with jesmonite and acrylic, on handmade cotton rag paper 21 x 42 cm 58

Boscastle Harbour Quay I, Cornwall, 2021 Watercolour with jesmonite and acrylic, on handmade cotton rag paper 30 x 42 cm 60

Golden Cap From The Cobb III, Dorset, 2021 Watercolour with jesmonite and acrylic, on handmade cotton rag paper 30 x 42 cm 62

Hooken Cliff IV, Devon, 2021 Watercolour with jesmonite and acrylic, on handmade cotton rag paper 30 x 42 cm 64

Porthleven III, Cornwall, 2021 Watercolour with jesmonite and acrylic, on handmade cotton rag paper 21 x 42 cm 66

Jacob’s Ladder I, Devon, 2021 Watercolour with jesmonite and acrylic, on handmade cotton rag paper 30 x 42 cm 68

Ilfracombe Harbour III, Devon, 2021 Watercolour with jesmonite and acrylic, on handmade cotton rag paper 30 x 42 cm 70

Godrevy III, Cornwall, 2021 Watercolour with jesmonite and acrylic, on handmade cotton rag paper 30 x 42 cm 72

Mullion Cove Quay I, Cornwall, 2021 Watercolour with jesmonite and acrylic, on handmade cotton rag paper 30 x 42 cm 74

Ballard Point from the Stone Quay III, Dorset, 2019 Watercolour with jesmonite and acrylic, on handmade cotton rag paper 30 x 42 cm 76

Golden Cap and Seatown from Ridge Cliff, Dorset, 2019 Watercolour with jesmonite and acrylic, on handmade cotton rag paper 30 x 42 cm 78

Kimmeridge Bay as seen from Clavell Tower IV , Dorset, 2019 Watercolour with jesmonite and acrylic, on handmade cotton rag paper 30 x 42 cm 80

The two bays from Durlston Head IV, Dorset, 2019 Watercolour with jesmonite and acrylic, on handmade cotton rag paper 30 x 42 cm 82

Chapman’s Pool from Emmetts Hill, Dorset, 2019 Watercolour with jesmonite and acrylic, on handmade cotton rag paper 30 x 42 cm 84

Jeremy Gardiner CV Chronology 1957 | Born Münster, Germany. 1975–79 | BA in Fine Art, Newcastle University. 1980–83 | MA Painting, Royal College of Art. 1984-86 | Harkness Fellow, Massachusetts Institute of Technology Awards and Fellowships 2022 | British Council UK-China Connections through Culture Grant 2020 | Arts Council England Grant 2017 | Senior Fellowship, Higher Education Academy 2013 | First Prize, ING Discerning Eye 2010 | Arts Council England Grants for the Arts; Artist in Residence Nottingham University 2008 | Arts Council England Research and Development Award 2007 | Arts and Humanities Research Council Grant 2003 | Peterborough Art Prize 2002 | National Endowment for Science, Technology and the Arts Grant 1998 | New Forms Grant, Cultural Affairs Council, Florida 1995 | Florida Council on the Arts Fellowship 1988 | Prix Ars Prize, Austria 1987 | New York Foundation for the Arts Fellowship 1985 | Major Works Grant, Massachusetts Council on the Arts and Humanities 1984 | Harkness Fellowship; Churchill Fellowship 1981 | John Minton Scholarship, Royal College of Art 1979 | Yorkshire Arts, Artist in Industry Fellowship 1978 | Midland Bank Drawing Prize; Hatton Scholarship, Newcastle University 1977 | John Christie Scholarship, Newcastle University Northern Arts Exhibition Award Collections Barclays Wealth Management, Poole BNP Paribas, London Bournemouth University Art Collection, Bournemouth Centrebridge, London Cleary Gottlieb, London Davis Polk & Wardwell, Paris 86

Ente Nazionale Idrocarburi, Milan Gaz de France, London GDF Suez, London General Electric, London GlaxoSmithKline, London Goodwin Proctor, London Government Art Collection, London Greenlight Capital, London Hatton Gallery, Newcastle Upon Tyne Imperial College Art Collection, London ING, London Lawrence Graham LLP, London LGV, London NYNEX Corporate Collection, USA Pallant House Gallery, Chichester Peterborough Museum and Art Gallery, Peterborough Peter Taylor and Associates, London Pinsent Masons, London Rathbones, London Rank Xerox, London Royal College of Art Collection, London Royal National Lifeboat Institution, Poole Southampton City Art Gallery St Barbe Museum and Art Gallery St Thomas’ Hospital Collection, London Swindon Museum and Art Gallery Tudor Capital, London University of Northumbria, Newcastle upon Tyne Victoria and Albert Museum, London Watson Wyatt, London Solo Exhibitions 2022 | Contraband, Candida Stevens Gallery, Chichester 2020 | South by Southwest, St Barbe Museum and Art Gallery, Lymington, The Nine British Art, London 2019 | Tintagel to Lulworth, The Nine British Art, London 2018 | Geology of Landscape, Candida Stevens Gallery, Chichester 2017 | Drawn to the Coast, The Nine British Art, London 87

2016 | Pillars of Light, The Nine British Art, London 2015 | Jurassic Coast, Victoria Art Gallery, Bath 2014 | ING, City of London 2013 | Intaglio Monoprints, Pratt Gallery, Pratt Institute of Art and Design, Brooklyn, New York; Cornish Monoprints, Belgrave Gallery, St Ives; Exploring the Elemental, The Nine British Art, London; Unfolding Landscape, Kings Place Gallery, London, University of Northumbria Art Gallery, Newcastle Upon Tyne; Monoprints, Level 39, 1 Canada Water, London 2010 | A Panoramic View, Pallant House Gallery, Chichester; Light Years, Jurassic Coast, Lighthouse, Poole Centre for the Arts; Atlantic Edge, Belgrave Gallery, St Ives; Campden Gallery, Chipping Campden 2008 | The Coast Revisited, The Nine British Art, London 2007 | Arvor, Belgrave Gallery, St Ives; Atrium Gallery, Bournemouth University; Foss Fine Art, London; Along the Coast, Campden Gallery, Chipping Campden 2006 | 59th Aldeburgh Festival, Foss Fine Art; Midtsommerfest, Tysvaer, Norway; Jurassic Coast, Black Swan Arts, Frome, Somerset 2004 | Archipelago, Gallery 286, London Northcote Gallery, London; Maltby Gallery, Winchester 2003 | Purbeck Light Years, Lighthouse, Poole Centre for the Arts 2001 | Maltby Gallery, Winchester 2000 | Ballard Point, Belgrave Gallery, London 1991 | Fine Arts Museum of Long Island 1990 | Centro Cultural Cândido Mendes, Rio de Janeiro, Museu de Arte Moderna de São Paulo 1987 | Compton Gallery, MIT, Cambridge, Massachusetts 1985 | George Sherman Gallery, Boston University 1984 | Galerie 39, London 1983 | Heuristic Journeys, General Electric, Hirst Research Centre, London 1980 | Parnham House, Dorset Selected Group Exhibitions 2021 | Superfusion, Chengdu Biennale, China; Concrete Castles, Cornwall Regimental Museum, Bodmin; Unsettling Landscapes, St Barbe Museum, Lymington; Selected Work, Linley, London Drawing on Dorset, Glebe Gallery, Shaftesbury; 2019 | Twenty Stations of the Dorset Coast, Sladers Yard, Dorset; Three x Nine, The Nine British Art, London; Drawn to Dorset: Fifty Drawings, Fine Foundation Gallery, Swanage; Sunday Times Watercolour Competition, Mall Galleries, London; Sussex Landscapes, Manor Place, Chilgrove, Candida Stevens Gallery, Chichester 2018 | Coast, St Barbe Museum, Lymington; Secret, Royal College of Art; Impressions on Paper, David Simon Gallery, Bath; Present Day, Candida Stevens Gallery, Chichester 2017 | Capture the Castle, Southampton City Art Gallery; Coastal Connections, The Otter Gallery, University of Chichester; Secret, Royal College of Art 2016 | Facing History, Victoria & Albert Museum, London; Digital Futures, British Computer Society, London; Secret, Royal College of Art 2015 | Royal Academy Summer Exhibition; Nature, Politics and Science, DLI Museum, Durham; Shorelines – Artists on the South Coast, St Barbe Museum, Lymington; The Discerning Eye, Mall Galleries, London 2014 | The Newcastle Connection, University of Northumbria Art Gallery; Songs of Nature, Foss Fine Art Ways of Looking, Aldeburgh Gallery 88

2013 | The Discerning Eye, Mall Galleries, London; Mapping the Way, Walford Mill Crafts, Dorset; Pave the Way, Intaglio Monoprints, Haysom Quarry, Dorset; Summer Show, Belgrave Gallery, St Ives 2012 | Painting the Sea, The Art Stable, Dorset Coast; Unearthed, Bridport Arts Centre, Dorset 2010 | Earthscapes, Geology and Geography, Bridport Arts Centre, Dorset (touring exhibition); 105th Annual exhibition, Bath Society of Artists, Victoria Art Gallery, Bath; Works on Paper, Campden Gallery, Chipping Campden; 3D 2D, Edinburgh Printmakers 2009 | Imaginalis, Chelsea Art Museum, New York City; Mapping the Coast, Dorset County Museum (touring exhibition); 157th Autumn Exhibition, Royal West of England Academy, Bristol 2008 | Salon de Yutaka, Kanazawa, Japan Art de Art, Osaka, Japan; Artzone, Kyoto, Japan; Orie Gallery, Tokyo, Japan; Gallery Mai, Tokyo, Japan; Gallery Atos, Okinawa, Japan; Acostage Gallery, Takamatsu, Japan; 61st Aldeburgh Festival, Foss Fine Art; Streaming Museums, Federal Plaza, Melbourne, Australia 2007 | A Postcard from St Ives, Belgrave Gallery, St Ives; Cornish Show, Thompson’s Gallery, London 2006 | 59th Aldeburgh Festival; Art Loan Collection, Bournemouth University; Ancient landscapes, Midtsommerfest, Tysvaer, Norway; Time Passes, Renscombe Farm, Worth Matravers, Dorset; Originals, Mall Galleries, London 2005 | Royal Academy Summer Exhibition; Art Loan Collection, Winchester University 2004 | New Media Arts, First Beijing International Exhibition, China; Works on Paper, Sears Peyton Gallery, New York; Hunting Art Prize, Royal College of Art, London 2003 | Landscape, Campden Gallery, Chipping Campden; Peterborough Art Prize, Peterborough Museum and Art Gallery; Digital Terrains, Deluxe Gallery, London; The Land, Dorset County Hospital, Dorchester 2002 | Laing Landscape Competition, Mall Galleries, London; Quiet Waters, Poole Study Gallery; A Pelican in the Wilderness, Holburne Museum of Art, Bath; ISEA, Nagoya, Japan 2001 | Jeremy Gardiner/Geoffrey Dashwood, Maltby Gallery, Winchester; Laing Landscape Competition, Mall Galleries, London; Art Loan Collection, Bournemouth University; Belgrave Gallery, London; The Discerning Eye, Mall Galleries, London 2000 | Neuhoff Gallery, New York City 1999 | CADE, Historical Museum, Novosibirsk, Siberia, Russia; Belloc Lowndes Fine Art; Chicago Gamut, Colville Place Gallery, London; 147th Autumn Exhibition, Royal West of England Academy, Bristol 1998 | Landmark, Atrium Gallery, Bournemouth University; Royal Academy Summer Exhibition 1997 | Isle of Purbeck, Silicon Gallery, Philadelphia 1996 | Digital Salon, Visual Arts Museum, School of Visual Arts, New York; Multimedia Artworks, University of Ghent, Belgium 1995 | ArCade Prints, Brighton University 1994 | Nature Morte, Joel Kessler Gallery, Miami 1991 | Virtual Memories, Friends of Photography, San Francisco 1989 | Print 89, Arnolfini Gallery, Bristol; Fictive Strategies, Squibb Gallery, New York 1988 | Emerging Visions, Tibor de Nagy Gallery, New York; Summer in the City, Twining Gallery, New York; A Kiss is just a Kiss, Twining Gallery, New York; Cleveland Gallery, Cleveland (touring exhibition); Prix Ars Electronica, Austria 1987 | Emerging Expressions, Bronx Museum, New York; Casas Toledo Oosterom, New York; High Tech/High Touch in Printmaking, Pratt Institute Gallery, New York 1986 | 42nd Venice Biennale, Italy; Tradition & Innovation in Printmaking, Barbican, London; Hurlbutt Gallery, Greenwich, Connecticut; Louisville Art Gallery, Kentucky 89

1985 | State of the Art, Twining Gallery, New York; Major Works, New England Arts Biennial, University of Amherst; Emerging Expressions, Bronx Museum of the Arts, New York; Self Portraits, The Photographers Gallery, London; Digicon, Burnaby Art Gallery, Vancouver, Canada; Arts Festival, University of Nova Scotia, Canada 1983 | Electra 83, Musée d’Art Moderne de la Ville de Paris; The Pick of New Graduate Art, Christies, London 1982 | New Contemporaries, ICA, London; Pictures for Schools Exhibition, National Museum of Wales; Picture Loan Scheme, Ceolfrith Arts Centre, Sunderland 1981 | Royal Academy Summer Exhibition; Metropolis, Royal Festival Hall, London; Unicorn Trust, Morley Gallery, London 1980 | Artist in Industry, Sheffield City Art Gallery (Arts Council touring exhibition); Drawing into Painting, LYC Museum and Art Gallery, Cumbria; Reliefs, Royal College of Art 1978 | The Northern Art Exhibition, Shipley Art Gallery, Gateshead (touring exhibition); Student Drawing, Park Square Gallery, Leeds Films 2016 | Pillars of Light, Edge 2 Edge Productions 2014 | A Page in the Book of Time, World Out There Productions 2013 | Jeremy Gardiner, Unfolding Landscape, Aquiline Productions Selected Bibliography Angulo, Sandie, ‘Grants Reward the Creative Struggle’, Miami Herald, 17 August 1995 Authers, Kate, ‘Bath Lives’, Bath Life, 23 January 2015 Baker, Robin, Designing the Future, Thames & Hudson, 1993 Biggane, Dan, ‘Inspiration millions of years in the making’, The Bath Chronicle, 15 January 2015 Brompton, Sally, ‘Young Masters’, Daily Mail, 13 October 1975 Burt, Iain, ‘The Isle of Purbeck, A Very Surreal and Romantic Visit’, CTI Magazine, 1998 Collins, Ian, ‘Jurassic Portrait’, Dorset Magazine, June 2013 Darwent, Charles, exh. cat. essay, ‘Jeremy Gardiner: Atlantic Edge, From St Agnes to the Lizard’, Atlantic Edge, Belgrave Gallery, St Ives, 2010 Doyle, Jessica, ‘Diary: Jeremy Gardiner, Jurassic Coast’, House & Garden, February 2015 East, Ben, ‘Prelude to a Storm, Lynmouth Foreland Lighthouse’, Devon Life, November 2016 East, Ben, ‘Gaze, Pendeen Lighthouse’, Cornwall Life, November 2016 Elliot, Tom, ‘Jeremy Gardiner’, Blitz, July 1986 Finch, Liz, ‘Heuristic Journeys, from Picasso to Rasta’, Ritz, May 1984 Franklyn, Charles, ‘Pillars of Light, Coastal Lighthouses of the South West’, The Association of Lighthouse Keepers magazine, Winter 2016 Gardiner, Ginnie, ‘Summer in the City’, Artspeak, June 1988 Garlake, Margaret, exh. cat. essay, ‘Jeremy Gardiner: The Ballard Point Paintings’, Ballard Point, Belgrave Gallery, London, 2000 Gerken, J. Ellen, Click, North Light Books, 1990 Hansford, Christopher, ‘Inspired by a Jurassic Landscape,’ Bath Chronicle, 13 January 2006 Harrison, Helen, ‘Varied Approaches of Expatriates’, New York Times, 9 June 1991 Hodge, Susie, ‘Layers of Time and Meaning’, The Artist, November 2018 90

Jones, Jonathan, ‘Facing History’, The Guardian, 25 July 2015 Kerlow, Isaac, exh. cat. essay, ‘Time Passes, Listen, Time Passes’, Purbeck Light Years, Lighthouse, Poole Centre for the Arts, Poole, 2003 Lucy, Sue, ‘Taking the Long View’, The Bath Magazine, January 2015 Mannheimer, Marc, ‘Jeremy Gardiner’, Art New England, December 1987 Marks, Lawrence, ‘Art at Work’, Observer Magazine, 7 December 1980 Marshall, Steve, Unsettling Landscapes, Sansom and Company 2021 McCready, Georgette, ‘Taking the Long View’, The Bath Magazine, January 2015 Miers, Mary, ‘Best art exhibitions opening in January’, Country Life, January 2015 Miles, Jeremy, ‘The Constant Gardiner’, Daily Echo, 13 March 2007 Miles, Jeremy, ‘Lighting up Lighthouse’, Daily Echo, 4 October 2003 Miles, Jeremy, ‘Celebrating Art in Dorset’, Daily Echo, 15 May 1998 Olding, Simon, Quiet Waters, Colville Publishing, 2002 Packer, William, exh. cat. essay, Along the Dorset Coast, Campden Gallery, Chipping Campden, 2007 Pill, Steve, ‘Mapping the Coast’, Artists and Illustrators, February 2015 Powell, Anna, ‘Arts and Culture’, Bridport Times, June 2019 Purdon, James, ‘Jeremy Gardiner: Jurassic Coast at the Victoria Art Gallery’, Apollo, 5 February 2015 Rapp, Alan, ‘Picture Perfect’, I.D., November 1994 Raynor, Vivien, ‘Bronx Museum of the Arts’, New York Times, 25 October 1987 Robinson, Fiona, exh. cat. essay, Mapping the Jurassic Coast, Dorset County Museum, Dorchester, 2009 Roodhouse, Simon, ‘A Personal View’, Aspects, Autumn 1980 Ross, John, The Complete Printmaker, Free Press, 1990 Rowland, Iona, ‘20 Years of ING Discerning Eye partnership’, Aesthetica, 15 November 2018 Silberger, Katherine, ‘Drawing the line’, Village Voice, 23 August 1988 Simms, David, ‘Jeremy Gardiner’, IEEE Magazine, March 1994 Solberg, Kirsten, ‘Isle of Purbeck’, Leonardo, vol. 29, no. 5, 1996 Taylor, Marion, ‘West Bay – A Visual Journey’ Studio 6 publishing 2021 Tipp, Gary, ‘Jurassic Landscapes’, Mogers Drewett, January 2015 Wands, Bruce, Art in the Digital Age, Thames & Hudson, 2005 Watson-Smyth, Kate, ‘Open to Visitors’, Independent, 6 September 1999 Wilkes, James, exh. cat. essay, ‘Paintings and Monoprints’, Jeremy Gardiner: Remaking the Present, Representing the Past, Atrium Gallery, Bournemouth University, 2007 Wise, Kelly, ‘Jeremy Gardiner’, Boston Globe, 6 June 1987 Woodward, Christopher, exh. cat. essay, ‘The Ruins of Corfe Castle’, Purbeck Light Years, Lighthouse, Poole Centre for the Arts, 6 September–15 November 2003 Worden, Suzette, ‘The Earth Sciences and Creative Practice: Entering the Anthropocene’, in Handbook of Research on Digital Media and Creative Technologies, ed. by H. Dew, Hershey, Pennsylvania, IGI Global, 2015, pages 110–140 91

Published in March 2022 by Candida Stevens Gallery on the occasion of an exhibition featuring the work of Jeremy Gardiner Catalogue © Candida Stevens Gallery Text © Christopher Somerville Photography © Dan Stevens unless otherwise stated All rights reserved

12 Northgate, Chichester West Sussex PO19 1BA 01243 528401 info@candidastevens.com www.candidastevens.com @candida_stevens